034 – Holiday Hmk + Looking Ahead to Semester 2

Over the holidays you are expected to prepare your oral presentation. The presentation should run for a maximum of five minutes. To properly prepare for your presentation you must:

  1. Research you topic/issue thoroughly. This should involve at least an hour of reading and collating information found online. You should have an A4 page of information you have found along with links to the sites you got the from by the time you are done.
  2. Understand the key arguments in relation to your chosen issue. Although this isn’t a persuasive piece (you can do an expository or creative presentation if you wish) you should still have a position in regards to your issue. You may be simply presenting information on the history of torture being used to extract information from enemie’s of the state, but you will still have to make a statement about the extent to which you deem it appropriate – you don’t have to worry about including lots of persuasive techniques, but you will need to say what you think about the issue.
  3. Identify the links between the issue and the novel. If you are doing something that is not directly related to the novel, like speaking as a citizen of Eurasia that is captured and questioned by Oceanian authorities, it is vital that you illustrate how your topic is related to the novel.
  4. Draft your speech and get the timing right. By memorizing and rehearsing the first draft of your speech, you will be sure to come in at exactly five minutes. As you read it aloud, you will work out where you need to cut stuff out and put stuff in.
  5. Deliver your speech to someone at home. This will help you overcome any nerves and help you to see if you need to use cue cards or not.
  6. Find visuals to make your speech more interesting. This is where creating a PowerPoint is going to really help. Creating the PowerPoint after you have written the speech will allow you to make slides that have only the most important information.  Remember, the best PowerPoints have few words and lots of images.

YOU SHOULD HAVE READ 1984 COVER TO COVER AND/OR LISTENED TO THE AUDIOBOOK FROM START TO FINISH BY THE END OF THE HOLIDAYS!!

TWO MINUTES HATE

Two Minutes Hate (p.13-19 / 01 – 16:17), from George Orwell‘s novel Nineteen Eighty-Four, is a daily period in which Party members of the society of Oceania must watch a film depicting the Party’s enemies (notably Emmanuel Goldstein and his followers) and express their hatred for them.

The film and its accompanying auditory and visual cues (which include a grinding noise that Orwell describes as “of some monstrous machine running without oil”) are a form of brainwashing to Party members, attempting to whip them into a frenzy of hatred and loathing for Emmanuel Goldstein and the current enemy superstate. Apparently, it is not uncommon for those caught up in the hate to physically assault the telescreen, as Julia does during the scene.

The film becomes more surreal as it progresses, with Goldstein’s face morphing into a sheep as enemy soldiers advance on the viewers, before one such soldiercharges at the screensubmachine gun blazing. He morphs, finally, into the face of Big Brother at the end of the two minutes. At the end, the mentally, emotionally, and physically exhausted viewers chant “B-B!…B-B!” over and over again, ritualistically.

Within the book, the purpose of the Hate is said to satisfy the citizens’ subdued feelings of angst and hatred from leading such a wretched, controlled existence. By re-directing these subconscious feelings away from the Oceanian government and toward external enemies (which likely do not even exist), the Party minimizes subversive thought and behavior.

In the first Two Minutes Hate of the book, the audience is introduced to Inner Party member and key character O’Brien. Within the novel, hate week is an extrapolation of the two-minute period into an annual week-long festival.

Answer all questions of p.8 of Nelson book.

 

Story Tips: DRAMATICA

Dramatica sees the central character of a story–the Main Character–entering with a predetermined way of doing things. Along the way they develop a relationship with their polar opposite, someone who challenges their way of thinking. Ultimately, this relationship leads the Main Character towards adopting or rejecting this new way of seeing things. The result of their decision determines whether they were on the right path or the wrong path.

That’s really it. Of course then you can get into Overall Story Prerequisites, Relationship Story Catalysts, and Problem-Solving Styles…but only if you really want to!

[SOURCE]

‘Pyramids of corpses’ defy Utopian ideal

Orwell’s dream of liberty and equality still has the power to move, writesRobert Manne. But a century after his birth it remains illusory.

Last Wednesday the world celebrated the 100th anniversary of the birth of George Orwell, the man I regard as the greatest political writer of the 20th century.

I first encountered Orwell in the late 1960s. My political identity at that time had been shaped by the shock delivered by the knowledge that, in the decade before I was born, the Nazis had systematically set about the murder of my family and my people. Because of Nazism, my politics were of the left.

It was Orwell who complicated my political identity. For it was he who explained most straightforwardly the implications of the Stalinist catastrophe. A passage from a letter he wrote in 1939 transformed my political outlook.

“The thing that frightens me about the modern intelligentsia,” Orwell wrote, “is their inability to see that human society must be based on human decency . . . there is something wrong with a regime that needs a pyramid of corpses every few years.”

Being an anti-communist did not mean for Orwell the severing of a connection with the left. What he knew was the grotesqueness of any socialism that did not begin with a complete repudiation of the “Soviet myth”. Towards the end of his life Orwell explained: “Every line of serious work that I have written since 1936 has been written, directly or indirectly, against totalitarianism and for democratic socialism.”

During the Cold War, because of his anti-communism, Orwell was regarded with deep suspicion by the left. While the right lionised him, they somehow managed not to notice that he was a revolutionary socialist.

Since the end of the Cold War, Orwell’s influence has, if anything, grown. No year passes without new editions of his books or new critical biographies. On the surface this seems odd. Since the Soviet collapse, Orwell’s warnings about totalitarianism have lost their relevance. Virtually no one any longer genuinely believes in socialism, democratic or otherwise. Orwell’s nightmare has lifted. His great hope has faded. Yet of all the political writers of the last century it is he who has endured the best. There is no other writer whose opinions about the present age we would now be more eager to hear.

Why? It is not enough to talk about the lucidity of his mind or the entire absence in him of cant. Some deeper explanation seems required.

Since the French Revolution all Western societies have been haunted by its two great ideals – liberty and equality. In my opinion, of all recent writers no one was more faithful to the spirit of these ideals than George Orwell. It was because of his love of liberty and equality, which shine through every page he wrote, that his influence has managed to outlive the particular nightmares and dreams to which he devoted his life.

Orwell’s serious political thinking began with his involvement on the anti-fascist side in the Spanish Civil War. What Orwell experienced were the brutal attempts by the pro-communist forces to crush their Republican opponents, the Anarchists and Trotskyists.

From this experience all his subsequent political writing flowed. Through the power of his political imagination, Orwell’s fleeting experience of the suppression behind Republican lines in Spain led him to an understanding of the atmosphere of the totalitarian state.

On the basis of the astonishing dishonesty of the ideologues and the press concerning what was happening in Spain, Orwell came to fear a future world from which the ideal of objective truth had vanished and where those who held power were able to control the future through their control over the past. It was in Spain, moreover, that Orwell first saw the peculiar corruption to which those intellectuals who attached themselves to a country or a cause were prone.

For Orwell the essence of totalitarianism was the attack it waged against freedom. After Spain he lived with a permanent dread that the liberal civilisation into which he had been born was gradually being destroyed. This was the source of 1984, the most important warning he wrote about the abuse of absolute state power in the technological age.

But Orwell did not love only liberty. He also loved equality. In Republican Spain he fleetingly experienced a world where “the working class was in the saddle”. This was the kind of world in which Orwell wanted to live. His great Russian Revolution fable, Animal Farm, is essentially the story of the hope for equality cruelly betrayed.

Orwell’s dreams were not complex. He fought throughout his life, as he once put it, for a world where all individuals would have enough to eat and no fear of being unemployed. He did not believe that the superwealthy and the abjectly poor could share a common universe. When he outlined his program for socialism, at its heart was the demand that no one should earn more than 10 times as much as anyone else. Nor was Orwell’s passion for equality restricted to people of the West. He once asked whether it really was too much to try “to raise the standard of living of the whole world” to that of the average Briton of his day.

Equality is nowadays an unfashionable ideal. Yet I rarely discover a student who, after reading Orwell on equality, has failed to be moved or unnerved.

During the Cold War, the anti-communist right embraced Orwell for his defence of classical liberal principles against the totalitarian left. They rarely took seriously his revolutionary socialism and his loathing of privilege, which made him then, and make him still, essentially a man of the left.

In my opinion Orwell’s greatest failure as a writer was his unwillingness to think seriously about the tension between the ideals he loved, liberty and equality. Even in his own age, intelligent liberals argued that in any advanced industrial society the kind of equality of which Orwell dreamed could only be achieved by the creation of the kind of oppressive state he loathed.

On one occasion Orwell wrote a brief review of the most important anti-socialist manifesto of the 20th century, Hayek’s Road to Serfdom. Orwell was honest enough to admit the truth of Hayek’s warning that a “collectivist” economy gives to a “tyrannical minority” terrible potential power. But because he believed that the evils of laissez faire capitalism were even worse, all he could offer as an answer to Hayek was a politics where “the concept of right and wrong” had been restored. This is astonishingly lame. In the end, because Orwell’s democratic socialism was founded on ethics rather than economics, it proved utterly vulnerable to the power of the neo-liberal critique.

Robert Manne is professor of politics at La Trobe University.

[SOURCE]

1984 — About the book

In 1949, on the heels of another literary classic, Animal Farm, George Orwell wrote 1984, his now legendary and terrifying glimpse into the future. His vision of an omni-present and ultra-repressive State is rooted in the ominous world events of Orwell’s own time and is given shape and substance by his astute play on our own fears.

As the novel opens, we learn that in year 1984, the world has been divided into three states: Oceania, Eastasia and Eurasia, all of which, it is said, are almost continually in battle with one another. This world structure has come about following a nuclear war which took place sometime in the 1950’s. In the state of Oceania, a revolution has resulted in the rise of an all-seeing figurehead known only as Big Brother, and a secretive group of individuals referred to as The Party. Under this regime, basic freedoms of expression-even thought-are strictly forbidden. History and memory are actively erased and rewritten so as to support the omnipotence and infallibility of The Party and its pronouncements. To this end, the State even employs its own language, Newspeak, and its own thought process, Doublethink.

It’s against this background that we are introduced to Winston Smith, a low-level Party member (not to be confused with the elite group which surrounds Big Brother) who works in the Ministry of Truth. His job here, paradoxically, is to destroy and rewrite news articles and State facts and figures so as to align them with the most current views of The Party. A resident of Airstrip One-formerly London, England-Smith lives in a world devoid of even the simplest liberties. In this repressive society, where thoughts themselves can be ascertained and monitored, Winston finds himself alone and in quiet “revolution” against Big Brother. Boldly, he even goes as far as to write his own thoughts down on paper- a crime worthy of abduction by the Thought Police.

Early in the novel, Winston meets Julia, another worker at the Ministry of Truth, whom he has been watching from afar. Secretly, the two begin a love affair. This liaison inspires Winston to indulge his ever-growing obsession with revolution, and he and Julia begin to discuss, however implausible, ideas for the overthrow of The Party. Winston’s eventual (and inevitable) capture at the hands of the Thought Police leads to his purification and re-education by inner Party members.

Orwell’s strict attention to detail and realistic description of a world thirty-five years ahead of his own add validity to 1984, and make its larger conclusions all the more frightening. Even today, the novel remains a bleak and shadowy forewarning of what might someday occur.